Frank Foster (1928-2011)

Biography

Frank Benjamin Foster III was born in Cincinnati and became one of the most important arrangers in the Count Basie tradition. He played tenor saxophone with Count Basie’s orchestra from 1953 to 1964, contributing numerous arrangements that became band signatures. After leaving Basie, Foster led his own groups, worked as freelance arranger, and eventually led the Count Basie Orchestra from 1986 to 1995 after Basie’s death. His compositions including “Shiny Stockings,” “Simone,” and “Down for the Count” became jazz standards. Foster received NEA Jazz Master honor and continued performing and arranging until shortly before his death. His arranging maintained Kansas City blues traditions while incorporating modern harmonic and rhythmic elements. Foster’s work demonstrated that swing traditions could remain vital and relevant, not merely nostalgic, through thoughtful modernization.

Musical Style

Foster’s arranging style combined Count Basie’s blues-rooted swing tradition with contemporary harmonic sophistication and modern voicings. His arrangements featured the clarity and swing that defined Basie’s sound while adding more complex harmonies and sophisticated inner voice movement. What distinguished Foster’s work was his ability to honor tradition while updating it—his arrangements swung hard in the Basie manner yet incorporated bebop harmonies and modern rhythmic concepts. His voicings were clear and powerful, emphasizing the brass strength that characterized Kansas City big band tradition. Foster understood how to write for blues feeling while maintaining sophisticated harmonic movement. His arrangements balanced simplicity and complexity, never losing swing feeling amid harmonic sophistication. Foster’s style represented the best continuation of Basie’s legacy, demonstrating that traditions evolve rather than ossify when handled by masters.

Orchestration Techniques

Foster’s orchestrations exemplify the Kansas City tradition of clarity and power, employing predominantly four-way close voicings for saxophone section with the baritone doubling the lead at the lower octave. His brass writing utilizes open voicings with wide intervals between trumpet and trombone sections, creating the characteristic Basie sound of brilliance without density. Sectional writing emphasizes the call-and-response paradigm, with brass and saxophone sections trading phrases in rhythmic unison, often separated by brief rests that create anticipation. Contrapuntal techniques include strategic use of guide-tone lines in inner voices, particularly in trombone parts where sustained thirds and sevenths move by half-step while outer voices maintain melodic interest. Foster’s register usage positions lead trumpet in the comfortable middle-high range rather than extreme altissimo, ensuring reliable intonation and section blend throughout extended performances. His saxophone voicings exploit the natural blend of the instruments, avoiding the stratospheric alto writing that can thin the section sound. Rhythmic notation reflects the Basie precision approach, with specific articulation markings for swing interpretation including roof accents on anticipations and staccato marks on pickup notes. Textural approaches favor the stripped-down clarity of the Basie book, with rhythm section often providing the only accompaniment during solo passages, allowing the horns to make maximum impact during ensemble sections. Foster’s preferred configuration is the standard Basie instrumentation with four trumpets, three trombones, and five saxophones, maximizing the power of familiar voicings. Dynamic architecture employs the Basie technique of long crescendos from whisper to shout, with the entire band building intensity through synchronized dynamic increases. His signature technique involves incorporating bebop chord substitutions (tritone subs, diminished passing chords) within swing-era formal structures, modernizing the harmonic content while maintaining the essential blues feeling and swing drive.

Top Albums

Count Basie Orchestra - “Easin’ It” (1960s, Foster arrangements)

Foster’s arrangements for Basie showcase his gifts at peak form. His charts including “Shiny Stockings” feature sophisticated voicings while maintaining Basie’s essential simplicity and swing. What makes Foster’s Basie arrangements remarkable is their balance—they update the band’s sound without betraying its essential character. His writing creates interesting harmonic movement while never losing the blues feeling that defined Basie’s approach. The voicings demonstrate Foster’s understanding of brass section writing and his gift for creating powerful yet transparent textures.

Frank Foster - “Manhattan Fever” (1968)

Foster’s arrangements for his own large ensemble demonstrate his gifts beyond the Basie context. His charts here are more adventurous harmonically and rhythmically while maintaining strong swing foundations. What’s particularly impressive is Foster’s range—these arrangements show he could write in contemporary styles while maintaining his essential identity. His composition “Manhattan Fever” showcases his gift for creating exciting, modern big band arrangements that honor tradition while pushing forward. The album proves Foster was more than just a Basie disciple but a distinctive voice.

The Count Basie Orchestra directed by Frank Foster - “Frankly Basie” (1991)

Foster’s arrangements for the Basie ghost band demonstrate his mature synthesis of tradition and innovation. His charts honor Basie’s legacy while incorporating contemporary elements that keep the music vital. What makes these arrangements fascinating is their respect—Foster updates the Basie sound without distorting it, understanding what can change and what must remain constant. His arrangement of “Jumping at the Woodside” shows how classic material can be refreshed while maintaining its essence. The album demonstrates Foster’s success at leading the Basie tradition into new eras.